Requirements and learning activities that promote students' abilities to

a. Identify and understand specific elements and
assumptions of Art History as a Humanistic discipline:

ART 222 is is designed as a broad survey of the History of Western Art. It begins
with the Renaissance and concludes with the outbreak of World War II. It is aimed at the
BA student majoring in Art but open to the interested general student as well.

The class extends the knowledge base of the History of Art gained in ART 221 to further
the student's understanding of

1. art as a non-verbal means of communication (as a language of visual forms having its
own vocabulary and structure);

2. the role of iconography in establishing the content of works of art;

3. the interaction among a work's iconography and its visual style;

4. the concept of style and attendant iconographies as a means of measuring
art-historical changes across time and space among those cultures and areas under
investigation;

hence students must be able

5. to identify period styles and works of individual artists and their styles

Students learn via lectures, videos, and their reading assignments, of the means by
which these factors affect the creation of art: how the visual arts serve as both
individual and cultural expression informed by religious, political, social, and economic
conditions, as well as artistic traditions; how the artist perceives and processes the
world in a given time and place; the circumstances of patronage and audience response, of
politics, art politics, and economics; the social purposes of a given work; the intentions
of the artist; the impact of prevailing and changing art theories, etc.

More specifically students in ART 222 are expected to demonstrate their understanding
of

1. the tension, during the Renaissance period, between the Humanistic appeal of
Classical civilization and the traditional beliefs of Christianity;

2. the relationship between Renaissance Humanism and the creation of a rationalist art
of space and volume;

3. the transformation of Renaissance forms during the Baroque era;

4. the correlation between the national varieties of the Baroque and Protestant and
Roman Catholic values;

5. the role of women and women artists during the entire period;

6. the revivalist nature of Romantic art in relation to the era's political and
industrial revolutions;

7. the nature of the avant-garde and the changing relationship of the artist to
society; and

8. the stylistic innovations and radical changes, including abstraction, in modernist
art as a consequence (variously) of formal evolution, non-Western influences, and the
urban-industrial character of modern life.

Performance in examinations, which include essay
material, determine the degree to which students have been able to identify and understand
this fundamental basis of art-historical studies.

c. Understand the role of critical analysis in interpreting and evaluating works of
art:

Iconographic and formal
analyses of works of art in class and in the text, reading assignments, study guides, and
examination reviews enable the student in ART 222 to

1. develop critical and analytical skills in evaluating works of art,

and to employ

2. such factual information as the broad purposes
and functions of specific modes of art, the techniques employed, and general chronologies
and dating of style periods and individual works

so as to

3. discern differences and recognize similarities between styles (artists' styles and
period styles) and articulate them in well written essays

Examination essay questions using slides of works of art measure how well the student
has grasped both the role and mechanisms of art-critical analysis.

Art 222 Art History II Syllabus

This course fulfills 3 credits of the Arts and Sciences Core Requirement in the
Humanities area of the University Studies Program.

COURSE OBJECTIVES AND CONTENT

The following objectives address the learning outcomes for Humanities' courses in the
University Studies Program:

A. Identify and understand specific elements and
assumptions of Art History as a Humanistic discipline:

ART 222 is designed as a broad survey of the History of Western Art. It begins with
the Renaissance and continues until World War II. It is aimed at the BA student majoring
in Art but open to the interested general student as well.

The class extends the knowledge base of the History of Art gained in ART 221 to further
the student's understanding of

1. art as a non-verbal means of communication (as a language of visual forms having its
own vocabulary and structure);

2. the role of iconography in establishing the content of works of art;

3. the interaction among a work's iconography and its visual style;

4. the concept of style and attendant iconographies as a means of measuring
art-historical changes across time and space among those cultures and areas under
investigation;

hence students must be able

5. to identify period styles and works of individual artists and their styles

Students learn via lectures, videos, and their reading assignments, of the means by
which these factors fundamentally affect the creation of art: how the visual arts serve as
both individual and cultural expression informed by religious, political, social, and
economic conditions, as well as artistic traditions; how the artist perceives and
processes the world in a given time and place; the circumstances of patronage and audience
response, of politics, art politics, and economics; the social purposes of a given work;
the intentions of the artist; the impact of prevailing and changing art theories, etc.

More specifically students in ART 222 are expected to demonstrate their understanding
of

1. the tension, during the Renaissance period, between the Humanistic appeal of
Classical civilization and the traditional beliefs of Christianity;

2. the relationship between Renaissance Humanism and the creation of a rationalist art
of space and volume;

3. the transformation of Renaissance forms during the Baroque era;

4. the correlation between the national varieties of the Baroque and Protestant and
Roman Catholic values;

5. the role of women and women artists during the entire period;

6. the revivalist nature of Romantic art in relation to the era's political and
industrial revolutions;

7. the nature of the avant-garde and the changing relationship of the artist to
society; and

8. the stylistic innovations and radical changes, including abstraction, in modernist
art as a consequence (variously) of formal evolution, non-Western influences, and the
urban-industrial character of modern life.

Performance in examinations, which include essay
material, determine the degree to which students have been able to identify and understand
this fundamental basis art-historical studies.

C. Understand the role of critical analysis in interpreting and evaluating works of
art:

Iconographic and formal
analyses of works of art in class and in the text, reading assignments, study guides, and
examination reviews enable the student in ART 222 to

1. develop critical and analytical skills in evaluating works of art,

and to employ

2. such factual information as the broad purposes
and functions of specific modes of art, the techniques employed, and general chronologies
and dating of style periods and individual works

so as to

3. discern differences and recognize similarities between styles (artists' styles and
period styles) and articulate them in well written essays

Examination essay questions using slides of works of art measure how well the student
has grasped both the role and mechanisms of art-critical analysis.

TEXTBOOK

Laurie Schneider Adams, A History of Western Art, New York: McGraw-Hill, 2nd
ed., 1997

You will also need to purchase for about $3.00 a set of individual reproductions of
works from the late 19th and 20th centuries not published in the text, but which will
be included in class and for which you will be responsible. These are available
from the bookstore.

COURSE FORMAT

Lectures and occasional videos. Class discussion is encouraged and questions are always
welcome.

REQUIREMENTS

Three exams including the final. Final exam is not cumulative.

EXAMS

Will consist of all or some of the following: (For specifics of each exam, see
next page.)

A. Non-visual questions such as multiple
choice, eliminations, and matching. Of a more or less factual nature; drawn from text and
lectures.

NOTE: For each exam bring a Scan-Tron Form 882 and a #2 pencil. Also, seating
will be alphabetical during exams.

No Make-up Exams Given. If you have a legitimate reason for missing an exam, I may
excuse you from the test, but this means your other marks will be weighted more heavily
(see "Grading"). Each case considered on an individual basis.

GRADING

Each of the three exams in worth 20%; each of the two essay questions 15%; and
attendance 10%.

ATTENDANCE

Roll will be taken each class day. Attendance grades will be given as follows:

The topics that follow embrace those activities and requirements, as stated on
page 1,expected of Humanities courses in the University Studies Program. Such
activities and requirements promote the abilities of ART 109 students to

A. Identify and understand the specific elements and assumptions of Art as a
Humanistic discipline.

C. Understand the role of critical analysis in interpreting and evaluating works of
art.

A reminder: always keep up with the assigned readings, and otherwise be prepared
for the days lecture. As you read, pay close attention to the illustrations being
discussed, and study carefully the maps, timelines, and architectural diagrams and plans.
Consult the glossary in the back of the text for definitions of unfamiliar art and
technical terms. The various "boxed" sections in the text will further enhance
your understanding of the material. If necessary read or review chapter one.

Be aware that not all the artists/works included in the assigned chapters will be
covered in class: you will not be responsible for the omitted material. On the
other hand, you are responsible for the purchased reproductions mention above (see
TEXTBOOK). Occasionally slides of works of art will be introduced in class that are
neither reproduced nor discussed in your text: again, you are not responsible for
these but do remember why they are brought into the class discussions.

Week Chapter

1 Introduction: The Precursors of the Renaissance Review 14

in Italy and Flanders (not
exam material)

1-2 15th Century: The Early Renaissance in Italy and Flanders 15

Florence to c. 1440;
Flanders to 1476

Florence and Venice: 1440 to 1500

3-4 16th Century: The High Renaissance in Italy 16

Florence and Rome; Venice

5 EXAM I: A, B, C Questions (date to be announced)

Essay: D Question

6 16th Century in Italy continued: Other Trends 17

Mannerism; Venice: Architecture

6 16th Century: Painting in Northern Europe 18, pp. 316-21, 323-25

The Netherlands: Bosch, Brueghel;
Germany: Durer

6-8 17th Century: The Baroque 19

Italy, Flanders, Spain, Holland, France

8 The Early 18th Century: the Rococo Style 20 to p. 372

France and Austria

9-10 The Later 18th and Early 19th Centuries: The Revolutionary Period